Performances das timbila moçambicana e suas redes culturais: da estrutura visível à estrutura invisível
Autor(a) principal: | |
---|---|
Data de Publicação: | 2021 |
Tipo de documento: | Dissertação |
Idioma: | por |
Título da fonte: | Repositório Institucional da UFG |
Texto Completo: | http://repositorio.bc.ufg.br/tede/handle/tede/12050 |
Resumo: | This dissertation reflects on the performances of timbila, from its complex networks of cultural relationships shared within its profound structure, in different dimensions - historical, social, cultural - in colonial and post-independence contexts. This reflection has to do with the way timbila has been perceived in terms of most visible aspects, presented on stage, within the reach of the general public, and of the elements that are found in the deep structure such as symbolic values and social roles. The approach was carried out from an interdisciplinary perspective. In this context, different fields of knowledge were put together to dialogue with each other, such as, for example, the performances of timbila, cultural anthropology, sociology, cultural history, ethnomusicology, literature and linguistics, in the sense of providing a deeper and more comprehensive understanding. From this interdisciplinary perspective a reflection on timbila was set out and made, based on authors such as: Hugh Tracey (1949), Henri Junod (1939), Martin Luther (1980), Ilídio Rocha (1962), Amândio Munguambe (2000), Valdemiro Jopela (2006), Marílio Wane (2020). In this reflection, the research seeks to situate the timbila not only as music and dance, but as a practice inserted within a complex network of cultural relationships such as myths of origin, which lies within the relationships between tradition and modernity. The research seeks to understand the timbila from the relationship that it establishes with the orality that has functioned as a depository of the knowledge that was preserved in an intergenerational way, functioning as one of the communication mechanisms that shares knowledge the chope people have built for themselves over the centuries. In addition, aspects inherent to timbila events are discussed, without losing sight of its symbolic value, in the colonial and post- independence context, as well as the different structures that this practice carried in different contexts. These are contexts that are marked by power relations. These are elements of the performances that are not visible in the act of performing, but which consequently contribute to the final product displayed on stage. It's based on that line of thought that we realized that the practice of timbila should not be thought only from the visible elements, but above all, from the non-visible elements that are present in the profound structure which contributes to the final product in an implicit way. |
id |
UFG-2_cf40c486fc1b03d5179c514ac7260612 |
---|---|
oai_identifier_str |
oai:repositorio.bc.ufg.br:tede/12050 |
network_acronym_str |
UFG-2 |
network_name_str |
Repositório Institucional da UFG |
repository_id_str |
|
spelling |
Oliveira, Vânia Dolores Estevam dehttp://lattes.cnpq.br/1883361659918132Manjate, Teresa Maria AlfredoOliveira, Vânia Dolores Estevam deManjate, Teresa Maria AlfredoCorrea Júnior, Sebastião RiosMenezes, Marcos Antonio deMorais, Sara Santoshttp://lattes.cnpq.br/3663715311755276Chibanga, Vitor Abílio2022-05-10T11:55:02Z2022-05-10T11:55:02Z2021-12-15CHIBANGA, V. A. Performances das timbila moçambicana e suas redes culturais: da estrutura visível à estrutura invisível. 2021. 206 f. Dissertação (Mestrado em Performances Culturais) - Universidade Federal de Goiás, Goiânia, 2021.http://repositorio.bc.ufg.br/tede/handle/tede/12050ark:/38995/0013000009bjsThis dissertation reflects on the performances of timbila, from its complex networks of cultural relationships shared within its profound structure, in different dimensions - historical, social, cultural - in colonial and post-independence contexts. This reflection has to do with the way timbila has been perceived in terms of most visible aspects, presented on stage, within the reach of the general public, and of the elements that are found in the deep structure such as symbolic values and social roles. The approach was carried out from an interdisciplinary perspective. In this context, different fields of knowledge were put together to dialogue with each other, such as, for example, the performances of timbila, cultural anthropology, sociology, cultural history, ethnomusicology, literature and linguistics, in the sense of providing a deeper and more comprehensive understanding. From this interdisciplinary perspective a reflection on timbila was set out and made, based on authors such as: Hugh Tracey (1949), Henri Junod (1939), Martin Luther (1980), Ilídio Rocha (1962), Amândio Munguambe (2000), Valdemiro Jopela (2006), Marílio Wane (2020). In this reflection, the research seeks to situate the timbila not only as music and dance, but as a practice inserted within a complex network of cultural relationships such as myths of origin, which lies within the relationships between tradition and modernity. The research seeks to understand the timbila from the relationship that it establishes with the orality that has functioned as a depository of the knowledge that was preserved in an intergenerational way, functioning as one of the communication mechanisms that shares knowledge the chope people have built for themselves over the centuries. In addition, aspects inherent to timbila events are discussed, without losing sight of its symbolic value, in the colonial and post- independence context, as well as the different structures that this practice carried in different contexts. These are contexts that are marked by power relations. These are elements of the performances that are not visible in the act of performing, but which consequently contribute to the final product displayed on stage. It's based on that line of thought that we realized that the practice of timbila should not be thought only from the visible elements, but above all, from the non-visible elements that are present in the profound structure which contributes to the final product in an implicit way.A presente dissertação reflete sobre as performances das timbila, a partir das suas diferentes dimensões - históricas, sociais, culturais - nos contextos colonial e pós- independência. Essa reflexão tem a ver com a maneira como as timbila vêm sendo percebidas em função dos aspectos mais visíveis, apresentadas no palco, ao alcance do grande público, e dos elementos que se encontram na estrutura profunda como os valores simbólicos e os papéis sociais. A abordagem foi realizada numa perspectiva interdisciplinar. Nesse sentido, colocamos diferentes campos de saberes a dialogarem entre si, como, por exemplo, performances das timbila, antropologia cultural, sociologia, história cultural, etnomusicologia, literatura e linguística, no sentido de propiciar uma compreensão mais profunda e abrangente. A partir de esse olhar interdisciplinar nos propusemos fazer uma reflexão em torno das timbila com base em autores tais como: Hugh Tracey (1949), Henri Junod (1939), Martinho Lutero (1980), Ilídio Rocha (1962), Amândio Munguambe (2000), Valdemiro Jopela (2006), Marílio Wane (2020). Nesta reflexão procuramos situar as timbila não apenas como música e dança, mas como uma prática inserida dentro de uma rede complexa de relações culturais como os mitos de origem, que atuam dentro da relação de disputa entre a tradição e a modernidade. Buscamos entender as timbila a partir da relação que estabelece com a oralidade que tem funcionado como depositário de conhecimento que foram preservados de forma intergeracional, funcionando como um dos mecanismos de comunicação que partilha saberes que os chopes ao longo dos séculos construíram para si mesmos. Além disso, são discutidos os aspectos inerentes aos eventos de timbila, sem perder de vista o seu valor simbólico, no contexto colonial e pós-independência, bem como as distintas estruturas que esta prática assume em diferentes contextos. Trata-se de contextos que são marcados por relações de poder. Estes são elementos das performances que não são visíveis no ato da apresentação, mas que consequentemente contribuem para o produto final exibido no palco. É com base nessa linha de pensamento que percebemos que a prática de timbila não se deve pensar somente a partir dos elementos visíveis, mas, acima de tudo, a partir dos elementos não visíveis que estão presentes na estrutura profunda e que contribuem para o produto final de forma implícita.Submitted by Marlene Santos (marlene.bc.ufg@gmail.com) on 2022-05-09T15:11:00Z No. of bitstreams: 2 Dissertação - Vítor Abílio Chibanga - 2021.pdf: 3072956 bytes, checksum: ee5b247c52ff86c65643ecae0e15fb0a (MD5) license_rdf: 805 bytes, checksum: 4460e5956bc1d1639be9ae6146a50347 (MD5)Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2022-05-10T11:55:02Z (GMT) No. of bitstreams: 2 Dissertação - Vítor Abílio Chibanga - 2021.pdf: 3072956 bytes, checksum: ee5b247c52ff86c65643ecae0e15fb0a (MD5) license_rdf: 805 bytes, checksum: 4460e5956bc1d1639be9ae6146a50347 (MD5)Made available in DSpace on 2022-05-10T11:55:02Z (GMT). No. of bitstreams: 2 Dissertação - Vítor Abílio Chibanga - 2021.pdf: 3072956 bytes, checksum: ee5b247c52ff86c65643ecae0e15fb0a (MD5) license_rdf: 805 bytes, checksum: 4460e5956bc1d1639be9ae6146a50347 (MD5) Previous issue date: 2021-12-15Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPESporUniversidade Federal de GoiásPrograma de Pós-graduação em Performances Culturais (FCS)UFGBrasilFaculdade de Ciências Sociais - FCS (RG)Attribution-NonCommercial-NoDerivatives 4.0 Internationalhttp://creativecommons.org/licenses/by-nc-nd/4.0/info:eu-repo/semantics/openAccessTimbila moçambicanaPerformances culturaisOralidadeContextos culturaisMozambican timbilaOralityCultural contextsCIENCIAS SOCIAIS APLICADASPerformances das timbila moçambicana e suas redes culturais: da estrutura visível à estrutura invisívelMozambican timbila performances and their cultural networks: from visible structure to invisible structureinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/masterThesis79500500500500102161reponame:Repositório Institucional da UFGinstname:Universidade Federal de Goiás (UFG)instacron:UFGORIGINALDissertação - Vitor Abílio Chibanga - 2021.pdfDissertação - Vitor Abílio Chibanga - 2021.pdfapplication/pdf3083793http://repositorio.bc.ufg.br/tede/bitstreams/2663509a-4655-468a-990e-a5767591e3dd/downloadd5a060eb204d2c02297002a13b129bfcMD54LICENSElicense.txtlicense.txttext/plain; charset=utf-81748http://repositorio.bc.ufg.br/tede/bitstreams/b09c2b95-f960-449b-9a40-c4024cf16efd/download8a4605be74aa9ea9d79846c1fba20a33MD51CC-LICENSElicense_rdflicense_rdfapplication/rdf+xml; charset=utf-8805http://repositorio.bc.ufg.br/tede/bitstreams/0e08b07f-d669-4a62-8b8a-e8e7af048687/download4460e5956bc1d1639be9ae6146a50347MD52tede/120502022-09-05 17:45:46.863http://creativecommons.org/licenses/by-nc-nd/4.0/Attribution-NonCommercial-NoDerivatives 4.0 Internationalopen.accessoai:repositorio.bc.ufg.br:tede/12050http://repositorio.bc.ufg.br/tedeRepositório InstitucionalPUBhttp://repositorio.bc.ufg.br/oai/requesttasesdissertacoes.bc@ufg.bropendoar:2022-09-05T20:45:46Repositório Institucional da UFG - Universidade Federal de Goiás (UFG)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 |
dc.title.pt_BR.fl_str_mv |
Performances das timbila moçambicana e suas redes culturais: da estrutura visível à estrutura invisível |
dc.title.alternative.eng.fl_str_mv |
Mozambican timbila performances and their cultural networks: from visible structure to invisible structure |
title |
Performances das timbila moçambicana e suas redes culturais: da estrutura visível à estrutura invisível |
spellingShingle |
Performances das timbila moçambicana e suas redes culturais: da estrutura visível à estrutura invisível Chibanga, Vitor Abílio Timbila moçambicana Performances culturais Oralidade Contextos culturais Mozambican timbila Orality Cultural contexts CIENCIAS SOCIAIS APLICADAS |
title_short |
Performances das timbila moçambicana e suas redes culturais: da estrutura visível à estrutura invisível |
title_full |
Performances das timbila moçambicana e suas redes culturais: da estrutura visível à estrutura invisível |
title_fullStr |
Performances das timbila moçambicana e suas redes culturais: da estrutura visível à estrutura invisível |
title_full_unstemmed |
Performances das timbila moçambicana e suas redes culturais: da estrutura visível à estrutura invisível |
title_sort |
Performances das timbila moçambicana e suas redes culturais: da estrutura visível à estrutura invisível |
author |
Chibanga, Vitor Abílio |
author_facet |
Chibanga, Vitor Abílio |
author_role |
author |
dc.contributor.advisor1.fl_str_mv |
Oliveira, Vânia Dolores Estevam de |
dc.contributor.advisor1Lattes.fl_str_mv |
http://lattes.cnpq.br/1883361659918132 |
dc.contributor.advisor-co1.fl_str_mv |
Manjate, Teresa Maria Alfredo |
dc.contributor.referee1.fl_str_mv |
Oliveira, Vânia Dolores Estevam de |
dc.contributor.referee2.fl_str_mv |
Manjate, Teresa Maria Alfredo |
dc.contributor.referee3.fl_str_mv |
Correa Júnior, Sebastião Rios |
dc.contributor.referee4.fl_str_mv |
Menezes, Marcos Antonio de |
dc.contributor.referee5.fl_str_mv |
Morais, Sara Santos |
dc.contributor.authorLattes.fl_str_mv |
http://lattes.cnpq.br/3663715311755276 |
dc.contributor.author.fl_str_mv |
Chibanga, Vitor Abílio |
contributor_str_mv |
Oliveira, Vânia Dolores Estevam de Manjate, Teresa Maria Alfredo Oliveira, Vânia Dolores Estevam de Manjate, Teresa Maria Alfredo Correa Júnior, Sebastião Rios Menezes, Marcos Antonio de Morais, Sara Santos |
dc.subject.por.fl_str_mv |
Timbila moçambicana Performances culturais Oralidade Contextos culturais |
topic |
Timbila moçambicana Performances culturais Oralidade Contextos culturais Mozambican timbila Orality Cultural contexts CIENCIAS SOCIAIS APLICADAS |
dc.subject.eng.fl_str_mv |
Mozambican timbila Orality Cultural contexts |
dc.subject.cnpq.fl_str_mv |
CIENCIAS SOCIAIS APLICADAS |
description |
This dissertation reflects on the performances of timbila, from its complex networks of cultural relationships shared within its profound structure, in different dimensions - historical, social, cultural - in colonial and post-independence contexts. This reflection has to do with the way timbila has been perceived in terms of most visible aspects, presented on stage, within the reach of the general public, and of the elements that are found in the deep structure such as symbolic values and social roles. The approach was carried out from an interdisciplinary perspective. In this context, different fields of knowledge were put together to dialogue with each other, such as, for example, the performances of timbila, cultural anthropology, sociology, cultural history, ethnomusicology, literature and linguistics, in the sense of providing a deeper and more comprehensive understanding. From this interdisciplinary perspective a reflection on timbila was set out and made, based on authors such as: Hugh Tracey (1949), Henri Junod (1939), Martin Luther (1980), Ilídio Rocha (1962), Amândio Munguambe (2000), Valdemiro Jopela (2006), Marílio Wane (2020). In this reflection, the research seeks to situate the timbila not only as music and dance, but as a practice inserted within a complex network of cultural relationships such as myths of origin, which lies within the relationships between tradition and modernity. The research seeks to understand the timbila from the relationship that it establishes with the orality that has functioned as a depository of the knowledge that was preserved in an intergenerational way, functioning as one of the communication mechanisms that shares knowledge the chope people have built for themselves over the centuries. In addition, aspects inherent to timbila events are discussed, without losing sight of its symbolic value, in the colonial and post- independence context, as well as the different structures that this practice carried in different contexts. These are contexts that are marked by power relations. These are elements of the performances that are not visible in the act of performing, but which consequently contribute to the final product displayed on stage. It's based on that line of thought that we realized that the practice of timbila should not be thought only from the visible elements, but above all, from the non-visible elements that are present in the profound structure which contributes to the final product in an implicit way. |
publishDate |
2021 |
dc.date.issued.fl_str_mv |
2021-12-15 |
dc.date.accessioned.fl_str_mv |
2022-05-10T11:55:02Z |
dc.date.available.fl_str_mv |
2022-05-10T11:55:02Z |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/masterThesis |
format |
masterThesis |
status_str |
publishedVersion |
dc.identifier.citation.fl_str_mv |
CHIBANGA, V. A. Performances das timbila moçambicana e suas redes culturais: da estrutura visível à estrutura invisível. 2021. 206 f. Dissertação (Mestrado em Performances Culturais) - Universidade Federal de Goiás, Goiânia, 2021. |
dc.identifier.uri.fl_str_mv |
http://repositorio.bc.ufg.br/tede/handle/tede/12050 |
dc.identifier.dark.fl_str_mv |
ark:/38995/0013000009bjs |
identifier_str_mv |
CHIBANGA, V. A. Performances das timbila moçambicana e suas redes culturais: da estrutura visível à estrutura invisível. 2021. 206 f. Dissertação (Mestrado em Performances Culturais) - Universidade Federal de Goiás, Goiânia, 2021. ark:/38995/0013000009bjs |
url |
http://repositorio.bc.ufg.br/tede/handle/tede/12050 |
dc.language.iso.fl_str_mv |
por |
language |
por |
dc.relation.program.fl_str_mv |
79 |
dc.relation.confidence.fl_str_mv |
500 500 500 500 |
dc.relation.department.fl_str_mv |
10 |
dc.relation.cnpq.fl_str_mv |
216 |
dc.relation.sponsorship.fl_str_mv |
1 |
dc.rights.driver.fl_str_mv |
Attribution-NonCommercial-NoDerivatives 4.0 International http://creativecommons.org/licenses/by-nc-nd/4.0/ info:eu-repo/semantics/openAccess |
rights_invalid_str_mv |
Attribution-NonCommercial-NoDerivatives 4.0 International http://creativecommons.org/licenses/by-nc-nd/4.0/ |
eu_rights_str_mv |
openAccess |
dc.publisher.none.fl_str_mv |
Universidade Federal de Goiás |
dc.publisher.program.fl_str_mv |
Programa de Pós-graduação em Performances Culturais (FCS) |
dc.publisher.initials.fl_str_mv |
UFG |
dc.publisher.country.fl_str_mv |
Brasil |
dc.publisher.department.fl_str_mv |
Faculdade de Ciências Sociais - FCS (RG) |
publisher.none.fl_str_mv |
Universidade Federal de Goiás |
dc.source.none.fl_str_mv |
reponame:Repositório Institucional da UFG instname:Universidade Federal de Goiás (UFG) instacron:UFG |
instname_str |
Universidade Federal de Goiás (UFG) |
instacron_str |
UFG |
institution |
UFG |
reponame_str |
Repositório Institucional da UFG |
collection |
Repositório Institucional da UFG |
bitstream.url.fl_str_mv |
http://repositorio.bc.ufg.br/tede/bitstreams/2663509a-4655-468a-990e-a5767591e3dd/download http://repositorio.bc.ufg.br/tede/bitstreams/b09c2b95-f960-449b-9a40-c4024cf16efd/download http://repositorio.bc.ufg.br/tede/bitstreams/0e08b07f-d669-4a62-8b8a-e8e7af048687/download |
bitstream.checksum.fl_str_mv |
d5a060eb204d2c02297002a13b129bfc 8a4605be74aa9ea9d79846c1fba20a33 4460e5956bc1d1639be9ae6146a50347 |
bitstream.checksumAlgorithm.fl_str_mv |
MD5 MD5 MD5 |
repository.name.fl_str_mv |
Repositório Institucional da UFG - Universidade Federal de Goiás (UFG) |
repository.mail.fl_str_mv |
tasesdissertacoes.bc@ufg.br |
_version_ |
1811721465588875264 |